60
New York Magazine (Vulture) by
Powerfully rendered in every respect - and another testament to how bad the Nazis are for drama.
What are people saying?
What are critics saying?
80
It's a crisply made, absorbing human drama that frames its moral confrontation between good and evil in universal terms.
80
The New Yorker by Anthony Lane
Sophie Scholl: The Final Days may sound like a history lesson, but don't be fooled. It's a horror film.
80
An ace performance by 26-year-old Julia Jentsch ("The Edukators," "Snowland"), as the quietly determined Munich student who was beheaded for distributing counter-propaganda leaflets in 1943, gives pic a focused dramatic power.
88
The film is a shattering experience fueled by Jentsch's electrifying performance.
80
The Hollywood Reporter by Kirk Honeycutt
Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held ("Downfall") as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama.
80
A life so tragically and quickly extinguished presents maudlin temptations, but director Marc Rothemund ably resists them. His gripping, moving film focuses on a breathtakingly brief five-day period.
70
The New Republic by Stanley Kauffmann
Sophie Scholl is not as devastatingly moving as "The White Rose," but it, too, evokes awe in lesser beings.
80
The New York Times by Stephen Holden
This gripping true story, directed in a cool, semi-documentary style by the German filmmaker Marc Rothemund from a screenplay by Fred Breinersdorfer, challenges you to gauge your own courage and strength of character should you find yourself in similar circumstances.